In this article Dom Morley considers when it is better for him to use Analogue Or Digital. Without giving too much away, let’s just say that you can and possibly should use both. Dom explains why…
This is not an article about which is better, analogue or digital, and that is because I find that a really strange opinion to have. The idea that one way of working is going to be ‘better’ than another puts the focus on the process and not the outcome. That’s fine, I guess, if you are making music for the sake of playing with audio toys (and I have no problem with that as a hobby), but if your focus is making great sounding music then I think you should start with the outcome that you want, and then trace back to the process that best achieves that for you.
What Works For You
I’m first going to start with those italics I used on ‘for you’ because that is critical. I’m going to explain my process and thinking here, and these work for me. If they work for you then that’s fantastic, but they may not. There are amazing engineers and producers who I really admire who use completely different processes to me, and that’s great. I‘ve tried them and they don’t get me the result I’m looking for, and I’m sure my methods are useless to them. So, take this as an angle, an option - and maybe try it on for size. If it works for you then that’s cool, and if it doesn’t then you’ve learnt something more about your own methods and preferences.
I’m going to start with synths. I have a fairly sizeable analogue modular synth set-up, which I know a lot of people will say can be done in a computer. I actually have a couple of software modular systems so I know how close those can be, but there are a number of reasons why I have this modular set-up. Firstly, although the difference may be small, I think the analogue synths sound better. This difference is getting smaller all the time, but I’ll take a small benefit. If you’ve heard of the process of ‘marginal gains’, it’s used a lot in sport, and it’s how the British cycling team went from winning no Olympic medals to winning all of them. Simply put, this is the idea that if you improve a lot of small details, then you find the end result gets a lot better. Those details may seem insignificant in themselves (or ‘marginal’) but add them all up and you get a big leap forward.
My second reason is one of inspiration. I know I need to be creative in my job as a producer and mixer, and this is something that I need to manage and to some extent be able to switch on at will. There are a number of ways to do this, but to get into this specific example, I find it far more creative to be standing in front of a modular synth and manipulating the sound with patch cords, dials and switches than I do sat in front of a computer and using a mouse. Again, this might not be the case for you, but I know it works for me so it’s part of my process. And the third reason is about having the right tools for the job. You’ll notice I use the word ‘analogue’ a lot in describing my modular synth. That’s because more than 95% of my modules are analogue – I think I have one or two digital ones, despite the fact that there are dozens of amazing digital modules available. I use my modular when I’m looking for that ‘big analogue synth’ sound. If I’m looking for a digital synth sound - like a wavetable synth for example – then I’ll use a softsynth as that will have a ton of wave shapes in it, and will harness the full power of my studio computer. On top of that, the convertors that I’ll eventually be using for that sound will be the nice ones that I like on my DAW.
Inspiration
And all of these points apply to audio gear as well. I have a fair amount of analogue outboard gear, but no digital outboard – I use plug-ins for digital processing. And more than that, some mixes I do I’ll use a lot of outboard and some will rely more on plug-ins, depending on what sort of sound I’m going for. The ‘right tools for the job ‘approach applies. I also think the ‘marginal gains’ process works with outboard. The more transformers and valves I pass the music through the more ‘3D’ it sounds to me. And for some mixes that’s an important aspect of the sound. To be honest, the ‘inspiration’ part applies less to studio gear for me than it does with the modular synth. I’m not so much of a gear-head that just having it around me and using it is in itself inspiring, it’s more the sound that it gets me that I enjoy. However, I bet for some people being surrounded by outboard gear is inspiring, and more power to them.
The bottom line is, whatever gets you the best sounding result at the end of the day is worth pursuing / using / investing in. I’ve described how I make the decision on whether to use analogue or digital, and yours is bound to be different. The point is, it’s a conclusion you have to come to yourself, without taking any notice of anyone insisting one is ‘better’ than the other (including me!).
More Recording Resources From Dom Morley
Dom is the founder of the Mix Consultancy, a zero risk (money back guarantee) way to get notes on your tracks to help improve the sound. Whether you're an artist who likes to mix all their own work, a composer putting together a pitch on a limited budget, or an engineer who wants a discreet second opinion before sending a mix off to a client - we're here to help.
“I just completed a mix with the help of Dom Morley & The Mix Consultancy. The mix we turned over was qualitatively better than the one I would have gone with on my own.
It's been said that "a mix is never done, it's just abandoned", but the truth is, you *really* do feel a sense of completion and closure having worked with Dom because you know in your heart that you did everything you possibly could to get the best result possible for the client.
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In addition to the one-to-one advice Dom has produced some excellent online courses;
Everything You Need To Know About Recording Vocals
Preproduction, DAW set-up, preparing the studio, psychology, equipment. Literally everything you need to know.This is a short, free, mini-course on the four things that you really need to know in order to get great mixes, and the four things that you really don't!
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